Kimmelman writes about the quintessential viewer as observed at The Louvre. He deals with the idea of seeing, and the lost art of spending enough time with a single work of art to grasp it in its entirety. He weaves through a bit of history, bringing in key moments that is the cause of a less relaxed and more impatient approach to viewing works of art at museums.
Michael Kimmelman, Published Aug 2, 2009 At Louvre, Many Stops to Snap but Few Stay to Focus
http://www.nytimes.com/2009/08/03/arts/design/03abroad.html?_r=1&ref=arts
A friend and I, in the not to distant past took off to the MOMA to view some of their permanent collection, with the aim of sketching some of the works. Inspired by Alain De Botton, we decided to forgo the cameras, and sketch a work that each one found interesting. Like Kimmelmen, we attracted attention. I chose the Marchel Duchamp’s bicycle and promptly received instruction from a looker on, on sketching in the prongs of the bicycle wheel, from a Russian no less! Needless to say that we both felt very smug coming out of MOMA, thinking we had experienced the works in a different way, recognized perspective in a way that usually requires ’slow looking’, and filled our souls with some creative promise. A very rewarding look indeed. Makes you wonder at the many ways in which the camera has changed the act of seeing.
I think this is a well written article. Exactly what I have often times thought to myself. Thanks for putting this up here!! Great work Artanarki!!
Isn’t it interesting that the memory of engaging with rather than just looking at art in MOMA lodges itself in your memory? We engaged with the art we experienced, which encouraged us to create our own art and in turn caused the people around us to engage with that creative process. A positive infection which I suspect made an otherwise dull day a bit more inspiring for all.